Shakespeare’s Tragedies

Source: William Shakespeare, Macbeth (c. 1606), Othello (c. 1604), Hamlet (c. 1601)

Finding

Shakespeare’s major tragedies can be read as case studies in the failure of specific structural properties. Macbeth: ambition exceeds what his situation requires. Once the first murder is committed, each subsequent action must be larger to maintain the fabrication. Proportion fails first; every other property follows. Othello: Iago fabricates evidence. Othello accepts fabrication because it confirms what he fears. Non-fabrication and honesty fail. Hamlet: knows what to do, cannot act. “To be, or not to be” is the Knowledge-Action Gap made audible. Alignment fails: stated purpose (avenge) and actual action (delay) are inconsistent.

Pattern Mapping

Proportion — Macbeth: “I am in blood / Stepp’d in so far that, should I wade no more, / Returning were as tedious as go o’er.” Disproportion escalates.

Non-fabrication — Othello: “Trifles light as air / Are to the jealous confirmations strong / As proofs of holy writ.” Fabrication accepted because it confirms fear.

Alignment — Hamlet: the K-A Gap. The audience recognizes the violation because the pattern, even unnamed, is already known.

Connections

Status

Long tradition of structural readings (A.C. Bradley, Shakespearean Tragedy, 1904; Bloom, Shakespeare: The Invention of the Human, 1998). The mapping of each tragedy to specific property failures is this project’s interpretation, though the identification of Hamlet with indecision and Macbeth with overreach is standard.


The mapping to the five properties is this project’s structural interpretation.